Fall 2024 | Watch with Purpose #5: In the Mood for Love

[NearSharp]

Nathan Munoz

Act 1: Shot 1


Shot size, Angle, Framing: A close-up shot of a clock, taken from a slightly high angle. The background is out of focus, revealing a dirty single.
Shot composition and Motion: A handheld camera slowly pans to the left, creating a gentle movement that reveals characters in the background.
Mise en Scène: The clock is the only element in focus, creating a visually pleasing scene. Its details stand out sharply against a soft, blurred background, drawing the viewer's
attention.The contrast between the clarity of the clock and the out-of-focus surroundings adds depth and enhances the overall aesthetic appeal

Act 2: Shot 1


Shot size, Angle, Framing: A medium shot at eye level that captures a clean two-shot of both characters. The framing ensures that both subjects are in focus, allowing viewers to see their expressions and interactions clearly. This perspective creates a balanced composition, emphasizing their relationship and the dynamics between them in the scene.
Shot composition and Motion: The camera remains static, capturing both characters in a balanced frame. He occupies the left side of the screen, while she takes up the right. This arrangement creates a sense of symmetry and allows for an engaging visual dynamic between them.The stillness of the shot enhances the moment, allowing the audience to absorb the nuances of their emotional exchange.
Mise en Scène: I love the glances they share during the silence, filled with unspoken tension. As one character looks away, the other steals a quick glance. This subtle exchange adds depth to the scene, conveying emotions that words cannot express.

Act 2: Shot 2



Shot size, Angle, Framing: A full-body shot taken from a low angle, focusing on a single subject.
Shot composition and Motion: He steps out of the car, positioning himself on the left side of the screen. As he does so, the car continues to move forward down the center of the frame. The camera remains static, capturing both the character and the vehicle in a steady shot.
Mise en Scène: I love this scene of him getting out of the taxi and walking away. It feels incredibly relatable, capturing that familiar sense of transition and solitude.

Act 2: Shot 3



Shot size, Angle, Framing: full-body shot at eye level captures both characters in a two-shot. This framing allows viewers to see their entire figures, emphasizing their physical presence and interactions, inviting the audience to engage with their dynamics.
Shot composition and Motion: The camera remains still as they go about their day, capturing the subtle interactions between them. They are squeezed together on the left side of the screen, framed within the shape of the box formed by the walls around them.
Mise en Scène: I love the boxed-in look of the scene where they are crammed into the left corner of the screen.This tight framing creates a feeling of intimacy and tension, emphasizing their closeness while also suggesting a sense of confinement, a mix of connection and restraint.

Act 2: Shot 4


Shot size, Angle, Framing: Medium shot at eye level with singular focus on her through the window
Shot composition and Motion: The camera rises up and is then handheld as it keeps her centered in the middle with a slight lean to the left until she walks off screen left.
Mise en Scène: The gentle movement of her gaze and the delicate action of sipping add to the tranquility of the moment.

Act 3: Shot 1


Shot size, Angle, Framing: A close-up shot taken at eye level, focusing on a single subject. The image is clean and clear, highlighting the details of the subject's features.
Shot composition and Motion: A static handheld camera with slight adjustments keeps the subject positioned on the right side of the screen. The subtle movements of the camera enhance the scene's intimacy, allowing viewers to connect with her emotions and responses while maintaining focus on her presence.
Mise en Scène: She occupies a small portion of the screen, with the majority of the space remaining blank. This composition creates a sense of isolation or contemplation, drawing attention to her presence while highlighting the emptiness around her.

Act 3: Shot 2



Shot size, Angle, Framing: medium full-shot (cowboy shot), low angle, clean single
Shot composition and Motion: A static camera captures the subject centered in the frame, enclosed within a striking blue square. This bold framing draws immediate attention to the subject, emphasizing their presence and creating a strong visual impact. The blue background adds a layer of depth and mood, contrasting with the subject and enhancing the overall composition.
Mise en Scène: I love the strong silhouette created by the characters against the backdrop. The deep blue color that fills the open space adds a serene yet striking quality to the scene. This rich hue enhances the silhouettes. The combination of the bold outlines and the tranquil blue creates a visually captivating atmosphere, drawing the viewer into the moment.

[EvelyT]

Evely Torres


Shot 1:
This is a medium full shot that also serves as a master shot as it serves to establish the relationships among the existing tenants in contrast to the newly moved in Mrs. Chan. As a master shot, it is also a crowd shot, however the emphasis is on Mrs. Chan and how isolated she feels, which shows how lonely she is despite residing in a room for of lively people. It is taken at around 40 mm with an aperture around f/5 to create a slight blurriness that is placed in the foreground rather than the back. Within the scene, the other residents or huddled together around the rice cooker, their body language indicating that they are familiar and friendly together as they lean in close, however Mrs. Chan, although sharing the space, is both leaned away and partaking in a solitary activity. Food is typically indicative of communion and social togetherness, it is also one of our most vulnerable moments as we let our guard down to rest and partake in a meal. In choosing to not partake, Mrs. Chan demonstrates that she's not quite part of the community and isn't willing to let herself be vulnerable in front of others. This however doesn't upset her as given the context she is used to being alone with her husband gone. This is further indicated as the lamp beside her specifically illuminates her face, showing quite a pleasant and relaxed expression, and not one of upset for being left out. Her clothing, covered by the grey news paper, unfortunately doesn't help her stand out as she almost blends in with the wallpaper, further showing how removed she is from the liveliness and acts more as a spectator than an active participant. Despite this, she is still the most important figure within the frame as she resides within the upper third and is almost in the center of the left and right thirds, drawing attention though within the scene she doesn't call any to herself as in a room full of noise, it is the silence that ends up standing out. In addition, this is taken at a lower angle than the eyelevel of those around her for the purpose of setting the audience in line with Mrs. Chan, to feel as though we are sitting along with her and silently watching as well.


Shot 2:
This is a medium shot taken at what seems to be a 40 mm focal length as there is slight blurring of the background, and there seems to be an f-number of around f/16 once again to create a slight blurring of the background. It's a two shot taken at around eyelevel to create a more intimate feel in addition to the medium shot already creating a conversational air to the scene. They rest within the upper third so as we can read the body language their heads give subtly, yet they also reside each within the left and right third respectively, leaving a good deal of space between them. However, this creates and emphasis on the food that rests on the lower third as this represents their connection. In terms of their body language and space, despite their back remaining straight, their heads slightly lean towards each other, showing that their is a small connection building between the two. As aforementioned, food is an act of communion and vulnerability, making this scene interesting as this is the first time Mr. Chow and Mrs. Chan are shown to be eating with others as they tend to dine alone. This shows that they are lowering their guard for each other and have an agreed upon trust in which they can do so. The visible light within this scene appears to highlight the food, further emphasizing that they remain connected subtly despite having so much visual space. In context of the scene, they are further connected by the fact that Mr. Chow eats his meal with ketchup as Mrs. Chan is given mustard on her plate, showing that in this small way they are compatible and pair well together despite not knowing much of one another. In addition to this compatibility, they are surrounded by green and red, complimentary colors that reflect on them as they work well together and are able to have a moment of intimacy despite almost being strangers at first. Their clothing also seems to depict them as a yin and yang, one sporting black and the other a shade that almost appears right, further showing that no matter how much they are being kept apart by technicalities in their life, they are almost meant to be together from the start.


Shot 3:
This is a wide clean single shot taken at around 50 mm to almost collapse the image a bit and create a slight blurring, however with a deeper depth of field at around f/20. It is taken at a high angle above eyelevel to further make Mr. Chow appear smaller than he is in reality. This is because at the moment his life doesn't truly feel like it is in his hands, he is repeating cycles and going through his life alone and doesn't have much control over his current situation. The perspective of the shot and the way it utilizes leading lines to almost meet at one point creates an illusion of smallness when Mr. Chow is sat at the back, but it also emphasizes a feeling of isolation as given the context he doesn't yet know that someone else relates to his situation. He is shrouded in darkness with only a single light illuminating him, which demonstrates that he is surrounded by confusion and uncertainty, thus he tends to focus on the now and takes it day by day following the same routines which he knows and is certain of. While rectangles tend to symbolize structure and can be used here to show the structure of his routine, it also makes him feel like he is trapped in a box that he can't escape and doesn't seem to motivated on escaping and he fills up as little space as possible within it instead of demanding more of a presence. The room appears to have a yellow hue, but more a sickly one rather than a joyous one as he is sick of living his life as he des but sees no other way to go about things.


Shot 4:
This is a two shot taken at a medium full shot made to feel more intimate as it is set at about eye level. It is taken at around 35mm with an f-number of around f/16ish to create only a slight blur in the background. In contrast to their earlier scenes sharing food, this one is especially intimate as their body language now reflects their feelings a bit more, both Mr. Chow and Mrs. Chan leaning in as they share yet another vulnerable moment over their meal. They even eat from the same bamboo leaf despite having another plate available, which subtly shows how close and comfortable both have grown with each other, and rice also tends to symbolize simplicity and familial connection, something Mrs. Chan was unwilling to share with the other tenants as seen before. Once again there is the presence of red and green within the frame, further showing in a subtle manner that they are compatible despite their hesitance to get too close. Interestingly in their earlier dining scene they both resided far apart in the left and right thirds, however now even as Mrs. Chan stays in the left third, Mr. Chow is no longer exactly in the right third and is now closer, both showing their growing connection and the fact that Mr. Chow seems to be the one that is making more moves and falling in love first. This could be with the only lamp in the scene is on the side of Mr. Chow as it could mean that he has both becoming aware of his growing feelings and feels warm at the thought as well. However, Mrs. Chan is still in the dark and unsure of her feelings fully, thus she is only lit by the natural sun. This could also mean that she is being rational in contrast to Mr. Chow lit up by artificial light, as her natural lighting h=shows she is still thinking realistically and logically.


Shot 5:
This is another medium full crowd shot of Mrs. Chan that once again serves as a sort of master shot to highlight how she is still an outsider to those she shares a home with. It is taken at about a 50 mm focal length with an f-number of about f/16 for a slight, but more blurriness to the surroundings than before. This is in contrast to her first scene among the other tenants in which she wasn't bothered to be alone and even rested comfortably within a chair. However, she now looks more upset at feeling as an outsider now that she has known good company, and she is also standing up which adds to her discomfort and disconnection from the rest in the scene. Once again her clothing almost makes ger appear as if she is blending into the background, but now their is no assisting light to highlight her and make her stand out despite this. Although similar to an earlier shot in that her face rests within the upper third and she lies between the left and right (closer to the left), this only serves to isolate her now instead of highlighting her independence in a positive way. She feels as if she blaringly doesn't belong and almost disharmonizes the scene. While this is taken at eye level to those sitting, this now creates a disconnection between even the audience and Mrs. Chow, showing that now she is much more isolated than ever before.


Shot 6:
This is a medium close up a sit cuts off right above Mrs. Chan's head, taken at around 50 mm and an f/5 aperture to create a blurring of the background. While this counts as a clean single as Mrs. Chan is the only one is the scene and frame, it can arguable almost serve as a dirty single as her reflections almost act as other characters for the purpose of emphasizing her loneliness and the ghosts of what could've been. Within context of the greater scene, despite having agreed to run away with Mr. Chow, she unfortunately reaches him too late and misses him, the reflections further helping to emphasize that she is left with herself in a moment of silence. Interestingly there is absolutely no sound playing in this scene to reflect a very somber and devastating realization. With sound, one might be able to distract themself, but in complete silence one can only think and reflect on everything that went wrong. This is further emphasized by the fact that all her bottled feelings don't culminate into one big release, instead it is all let out in a single, quiet tear. Despite having felt great happiness, all she can muster is a truly heartbroken tear that is as alone as she is, which at times can be much more powerful than a big display. Often times it is said that silence is much more grave than a big show of emotion, which shows that Mr. Chow really meant a lot to Mrs. Chow despite them never getting their chance at happiness together. The lights themselves seem to be quiet as well, lighting the scene softly as to not cause Mrs. Chan to be distracted from her thoughts either. Interestingly, in many scenes she is shown around green and red when it comes to her and Mr. Chow, colors that are regarded as complimentary, even now as he is no longer there. This indicates that they were compatible on many levels, almost as if they were made for each other to be stuck in the same circumstances, and yet it still wasn't enough at the end.


Shot 7:
This is a close up insert shot taken at eyelevel to really emphasize a seemingly unassuming hole in the wall. It seems to be taken at around 50 mm and f/16 aperture in order to capture the detail of the whole yet have a slight blurring on the less important background. This emphasis helps in actually focusing on the hole as the color it is against, dull browns and greys, makes it almost blend in without a second thought. It is important to focus on this point, especially in context of being one of the closing scenes for the film, in that it sums up all that could never be. A few scenes earlier, Mr. Chow is discussing whispering his secrets into a hole in a tree and sealing them up forever, something he ends up doing at Angkor Watt as it will keep the secret alive within it's walls much better than a tree might. To further emphasize this, despite the browns and dull hues, there is some green among the grass that Mr. Chow plucked up, which could either symbolize that the secret, and therefore his feelings, are still alive and lead for a sort of optimistic look on things, or it could also mean that the last few sparks he still felt will eventually die out as well. The slow push in that occurs leading up to this specific shot also indicates that his feelings grew slowly and softly, but in the end it all came to a stop at one point in time. In regards to the eyelevel framing, emphasized more on the left third and between the top and bottom third, it makes the bittersweetness feel personal as we can see it for ourselves, but it also feels as if the hole is resting on the last page of a book right before closing and finishing the story if seen from left to right. However, if seen from right to left, it gives the impression of opening a book/new chapter, indicating that Mr. Chow can now move on and have a more optimistic ending as aforementioned despite the circumstances.

[ruthpliego]

ruth pliego

This is a medium close up shot, dirty single, with a low F-stop number as the frame contains shallow focus. With likely a medium to high focal length (around 50-60mm) as Mrs. Chan seems to slightly collapse with the background. This is a scene between Mrs. Chan and her husband, their interactions (and similarly, Mr. Chow's interactions with his wife) are filmed in a way where you never see their spouse's faces. This shot also feels like it forces the viewer to stay in their conversation, Mrs. Chan is so close to the door, closer to her spouse. This gives a feeling of effort, Mrs. Chan seems to be the one putting effort in the relationship, maintaining communication, sticking closely to her husband who isn't even in sight. This relationship feels one sided, and the framing reminds us of that, there is no room for anyone else to fit in this frame to keep the conversation going. This also might be a stretch (and mostly because I can't tell if I am misremembering) but I find it interesting how she is wearing muted colors when around her husband, in scenes where she is by herself of Mr. Chow, she is seen wearing more colorful outfits.

Single medium shot, 50mm focal length with a medium to larger f-stop (number) for a shallow focus on the two characters. In this shot Mr. Chow and Mrs. Chan are toying with the idea that perhaps they'd be much happier if they never married. This framing reflects that, Mr. Chow closes the gap between them, but the mise en scene force them to remain separated, confined to their social norms and morals, and trapped in the regret of each other's relationship. Despite wanting to act on these feelings, they know they can't. The dress that Mrs. Chan is wearing is also significant as it is a blend of Reds and Greens. These two are complimentary colors, but when put in this context it could represent different ideas. The reds could represent love, compassion, while the greens could represent nervousness and sickness. Or, if we are looking at it in the sense that they themselves are restraining themselves from falling in love with each other, the greens could represent desire (think of jades and emeralds), a growth of emotions (spouting of new found feelings, like a plant (: ) or, simply, infidelity.

Single, medium full shot, 50mm focal length, with a medium f-stop as everything is fully in frame. Mrs. Chan faces Mr. Chow, facing this fantasy they are pretending to live, while being turned away from the empty spot on the bed, room enough for her husband. We see the same color combinations of red and green once again, though this time, Mrs. Chan is trying to wrap herself with love (the red blanket) while revealing that the reality of these feelings are something of desire. It is also telling how you have this really comfortable and pretty set around Mrs. Chan with a really messy bedside table. She recognizes everything that is wrong with what they are doing, but is either trying to ignore it or push it aside.


This is almost an exact replica of the previous shot that I picked, another single medium shot, medium to large f-stop for a shallow focus. Though, the context of this seen is slightly different. Mr. Chow is confessing his love for Mrs. Chan. Something that should have been forbidden the second they started playing the part of each other's partners. They are again, restraining themselves from acting on these feelings, despite how clearly they want each other. In this scene though, we are more so looking at an expression of Mr. Chow, he is pouring out all of his feelings, as shown by the rain, but must remain the face of manliness in a world so focused on domesticity, he isn't emotional when he speaks, he speaks clearly and calmly. A bitter contrast to this buildup of emotions, represented by the bars separating them.

This insert boom shot that follows the hand that Mr. Chow just held across the arm of Mrs. Chan tells us so much about what she is feeling. This is accompanied by a low frame rate as he lets go of her hand, Mr. Chow had just told her that he was going to leave her alone, that nothing they had was real. But they both know it was real, the feelings were real. The way this is shot tells us that Mrs. Chan doesn't want these feelings to end, the moment and the fantasy is quite literally slipping by her fingers and she doesn't want to let go of it, bringing his touch closer to her, no longer retrained by norms and regret. And in a way, admitting her feelings for him. Interestingly, we are also following her wedding ring.

Crowd shot, medium f-stop, with a 45-50 mm focal length. When Mr. Chow asks about people who have things to hide, it cuts to a distant shot from behind some window blinds(?) the moment he says he doesn't have anything to hide. He knows that's not true, throughout the movie him and Mrs. Chan were shot in ways where it looked like we (the viewers) were secretly peeking into their life, through doors, mirrors, round hallways, and behind windows. He has constantly felt the pressure of feeling like there is no privacy, like everyone knows what they were doing, and everyone was always watching. And now, it feels like he almost wants it to come out. bringing attention to himself, with the help of the blinds, other patrons of the bar are obstructed and don't matter to him. But he knows he cant admit to it. It is not part of domestic life nor is it proper, and according to him, it wasn't even real.

[Aaliyah Mickle]

Aaliyah Mickle



1. This is a medium-full crowd shot. We can see more of the characters standing but our protagonist is sitting, so all we need to focus on is her face and gestures really. With the Koos and Suens positioned around the table, Mrs. Chan sits slightly apart in her chair, visually isolating her from the group. This is shot at a slightly lower angle, aligning the audience with a view similar to that of someone sitting in the room watching this scene. Mrs. Chan falls centered on the hotspot line of the upper third of the frame. This naturally draws our eyes to her in the shot rather than the neighbors around the table. The neighbors around the rice cooker occupy one side of the frame, brimming with motion and warm energy. On the other side, we see bright lampshades taking up most of the space. They stand still in contrast to the rowdy neighbors, smack in the middle of both sides is Mrs. Chan while. The juxtaposition visually conveys her emotional detachment from the people and environment around her even when she’s in the midst of them both. This was shot using a focal length at around 40mm as we see this slight perspective collapsing of everything in the shot. It enhances that claustrophobic feeling of the crowded apartment but also allows for this framing of Mrs. Chan using depth of field. The f-stop is f4, allowing for the blurring of the foreground but maintaining focus on Mrs. Chan who sits furthest away from the camera. Soft and diffused lighting bathes the group, while Mrs. Chan’s face is uniquely lit by the lamp’s direct glow. This lighting, again, isolates her emotionally. The higher exposure on her face contrasts with the muted background, making her the emotional focal point despite her being detached from the scene. Mrs. Chan wears one of her signature cheongsams, its elegant structure visually setting her apart from the casual appearance of the others. The cheongsam’s formality underscores her role as an outsider in this moment of domestic togetherness. Mrs. Chan’s silence, paired with the audible diegetic excitement of the group, enhances her emotional isolation as another contrasting element that sets her apart.



This shot is an insert shot at foot level from a slightly higher angle. The frame is cropped tightly, showing only their lower legs and feet, creating a sense of anonymity and fear of being discovered. This behavior mirrors the behavior of a person with something to hide. Though they are not in a sexual relationship, the gossip culture makes it impossible for them to work on the series openly for the neighbors to know. The choice to focus on this part of their bodies removes their facial expressions from the equation, forcing the audience to interpret their relationship and emotions through subtle body language. Much like with their spouses, we don’t see their face as the lines between the fake relationship and bottled-up feelings for one another. The use of foreground elements here creates another frame within a frame. It makes us as the viewer feel as though we’re in a cramped hiding place as well watching this conversation The background remains understated, allowing the foreground elements—their feet and the tension between them—to take center stage. Shot with a lens that creates a shallower depth of field we’re looking at a focal length of 35mm and an f-stop at f3. Mrs. Chan’s delicate slippers, embroidered with vibrant patterns, reflect her femininity. Mr. Chow’s simple, dark shoes are understated and practical. The contrast subtly underscores the societal roles they each inhabit, as well as the constraints they face. The audible diegetic sound of the mahjong game outside the room underscores the tension, the pair feels trying to keep their secret. Though they technically aren’t doing anything worse than their own spouses, they live in a society where their companionship while still married is seen as just as unfaithful.



3. This is a medium clean single shot from a higher angle. The perspective is almost creepy, as though the audience is observing her through the window in a private moment. The higher angle enhances this sense of intrusion, positioning the audience as outsiders looking in on her quiet vulnerability. The blue represents her loneliness as we see throughout the film. In this moment I's different because she is alone without feeling alone. They create this frame of loneliness that she writes through. The shot has a shallow depth of field, drawing focus to Mrs. Chan's concentrated expression as she writes under a desk lamp. This is achieved with a f-stop of f4 and a focal length of 40mm. The blurred vertical lines of the foreground curtains soften the frame, imbuing the scene with intimacy and subtle melancholy as she writes. The desk lamp casts a soft, concentrated glow directly onto her face and hands, creating a warm yet solemn tone. Green often symbolizes unfulfilled desire in the film, and its presence here complements Mrs. Chan’s quiet yearning as she channels her emotions into her writing. The framing emphasizes Mrs. Chan’s emotional detachment from the rest of the world. The curtains that obscure part of the shot act as both literal and metaphorical barriers, separating her from the outside. This framing, combined with the high angle, creates a frame-within-a-frame effect, reinforcing the theme of entrapment. The audience is placed at a distance, observing her through layers of fabric and glass, as though they are physically and emotionally removed from her inner world in this moment. The diegetic sound of her pen moving across the paper is soft but audible, heightening the intimacy of the moment. This auditory detail grounds the scene in realism while drawing the audience into Mrs. Chan’s quiet world.



4. This is an over-the-shoulder shot focuses on the back of Mrs. Chan's neck and her structured, patterned collar as she listens to Mrs. Suen’s. The framing is intimate but also creates distance. By focusing on the back of her head instead of her face, the audience is denied access to her emotions; so is Mrs. Suen. Instead, we are left to interpret her feelings based on her posture and the tension in the scene. This is also why the shot is not a clean a clean or even dirty single. The shallow depth of field keeps Mrs. Chan the clear subject of the frame, achieved with a focal length of 50mm and an aperture around f2. The background blurs into yellowish tones, creating a visual separation between Mrs. Chan and Mrs. Suen. This blurred background keeps the focus on Mrs. Chan’s stillness and composure while emphasizing how she feels isolated from the world around her. This detail mirrors the tension in her life—an elegant exterior hiding her inner conflict. The composition suggests a power dynamic between the characters. Mrs. Suen is out of focus, her figure only faintly visible in the background. This keeps the attention on Mrs. Chan, emphasizing her vulnerability at this moment. Mrs. Suen’s words, “You’ve been out a lot lately,” add to this sense of judgment. While Mrs. Chan’s meetings with Mr. Chow are innocent, the social environment she lives in assumes the worst. Even though she has done nothing wrong, the societal gaze, represented by Mrs. Suen, makes her feel trapped. Mrs. Chan’s stillness in the shot is telling. Her upright posture and composed body language suggest she’s carefully maintaining her outward appearance despite the judgment she faces. By not showing her face, the shot heightens the mystery and tension of the moment. We don’t know what she’s feeling, but her silence says a lot about her ability to endure social scrutiny. The warm, golden lighting softens the mood but also contrasts with the tension of the scene. It creates a sense of false comfort, as though the cozy setting hides the reality of Mrs. Chan’s struggles. It feels like we as the audience are just at her shoulder being chastised as well. This shot captures the quiet tension that defines Mrs. Chan’s life. By focusing on subtle details like her collar and her stillness, the scene emphasizes how she carefully navigates the judgment of those around her.



5. This is an insert shot from a lower angle of Mrs. Chan’s hand alongside the telephone she uses to speak to Mr. Chow. We see no faces, yet the framing isolates this small, intimate gesture, emphasizing the emotional weight of her words: "We shouldn’t see so much of each other." By cutting out her face and having that closer shot of her hand, the shot draws attention to her body language. Her fingers are tense, gripping the table slightly, reflecting her inner turmoil as she wrestles with the denial and consequences of their growing relationship. The green tones of the background recall a sense of melancholy and emotional suffocation, as seen throughout the film. The blurred foreground wall creates a sense of mystery, as though the audience is peeking into a deeply private moment. This framing also mirrors the affair of the spouses. Mrs. Chow has a very similar phone call earlier in the movie (except they are having a sexual affair, not writing martial arts series). The choice to keep the background largely out of focus, is achieved with a shallow depth of field, an f-stop of f3.5, and a 50mm focal length. Lighting in this shot is soft and diffused, coming from an off-screen source. This creates an almost monochromatic environment palate of green with a subdued atmosphere. The absence of music heightens the emotional tension, allowing the dialogue to carry the weight of the moment. Through its tight framing, muted colors, and symbolic details, this shot encapsulates the unspoken emotions and societal pressures that define their relationship (sparked by Mrs. Suen’s lecture). It invites the audience to linger on the unsaid, capturing the fragility of their connection as Mrs. Chan attempts to draw a line, even as her actions suggest otherwise.


6. This is a medium-full shot, even though she gets cut off at the shins right here. It is shot from a higher angle. The framing immediately draws attention, as it feels like the audience is watching her through window shades. This composition gives a sense of secrecy and heightens the tension, making it seem as though her private actions could be exposed at any moment. The use of obscured framing aligns with the film’s themes of concealment and emotional repression, placing the viewer in the role of a silent observer of her vulnerability. This returning color of Mrs. Chan’s blue dress is central to the shot's emotional impact. Blue is a recurring motif throughout the film, symbolizing her loneliness and sadness. Here, the deep blue contrasts with the warm red light from the lamp in the background. This red light represents both passion and danger. The lighting enhances this moment further. As Mrs. Chan moves, the light casts a red hue onto her right hand, making it appear red. This visual effect connects to the idea of being "caught red-handed," adding a layer of guilt to her actions. Though her visit is personal and emotionally driven, the lighting reminds us of the possible consequences of her transgression. The sparse setting of Mr. Chow’s room, combined with the muted shadows, reflects the unspoken emotional distance between them now. The objects in the frame, like the slippers she retrieves from under the bed, are small but significant. They serve as a reminder of her presence in his life but also her need to remain part of his life. The shot composition, color palette, and lighting all work together to emphasize Mrs. Chan’s inner conflict.



7. This extreme close-up of Mr. Chow’s hand gently pinching the cigarette with a lipstick stain, centering the object in the frame. The intimate framing draws attention to the detail, making it a symbolic artifact of Mrs. Chan’s emotional imprint even after she entered and exited without being seen. It does look like there is the slightest higher angle from this perspective, but it’s such a subtle raising that doesn’t really alter the narrative in the scene. This perspective reinforces the audience’s position as a privileged, yet external, observer—aware of the implications but unable to alter them overall. The cigarette’s muted tones and the textured fingers are enveloped in low-key lighting, which casts a warm, amber glow on this still. This lighting choice amplifies the scene’s nostalgic and introspective mood. The lipstick stain, a bold red against the pale cigarette, symbolizes passion and forbidden attraction, emotional vulnerability. This choice juxtaposes the restraint both characters maintain and the suppressed intensity beneath their interactions. Compositionally, the shot’s minimalism enhances the tactile focus in the fingers especially, with no extraneous elements to dilute the intimacy of Mr. Chow’s discovery. His motion is subtle: a gentle lift of the cigarette that signifies reflection and recognition as he pieces together who could have been there. The shot compels the viewer to consider not just what is seen but what is felt—his silent acknowledgment of her closeness and absence. (the same as her being lonely but never alone with the blue motif)

[fellowghoul]

Trinity Torres


1. Cowboy shot, dirty single, low angle
2. The shot composition features them both speaking through a dirty, murky window, which offers some insight as to the kind of setting we are in. Also the framing of the window directly frames the 2 character's faces and draws more attention to it that way.
3.The lens keeps the foreground blurry and the background more clear since the focal point lies there.
4. The intense lighting behind her head helps to make her really stand out in the dull toned background. There is even more harsh white light out of screen behind the man but you can tell its there because its shining on the back of the mans head.

1. Medium close up, two shot, eye level
2. The iron bars on framed perfectly on either side of her face, as well as the mans face. This helps to draw more attention to them both even though he's blurred out a bit.
3. The lense has a shallow depth of focus because the man's face is blurred in the background but hers is not.
4.The woman's outfit is incredibly fancy and colorful against the dull brown background.

1. Establishing shot, wide angle, low angle
2.The direction of the walls leading down the hallway brings the viewers eye to the man.
3.I believe the lense is not very long but has a wide aperture to let more of the lighting in.
4. The big, red, eleagant curtain contrasts with the brown walls and makes the place feel fancy yet bland at the same time.

1. Full shot, low angle, single shot
2. The curtains and the wall are framing her very nicely and telling us we should be watching her.
3. The camera's lense is tight, and has a not so wide aperture because the scene is dimly lit but not over saturated.
4.She is wearing very light, casual colored clothes that help her blend in with the background a bit. She doesn't look out of place, but like she is part of it. The lamp adds a nice illumination to her face which helps her the focus.

1. Medium close up, dirty single, eye level
2. The bars are framing their faces and the direction in which they are moving has him facing directly horizontal while she is completely vertical. It creates a sort of parallel that separates them even though they are seen together a majority of the film.
3. The camera has a shallow depth of field in order to blur the background the woman is in.
4. Their outfits are always constrasting in that she is always bright and colorful and standing out in the poor looking rooms, while he is very bland colored and always in formal business clothes.

1. Medium close up, clean single, eye level
2. This shot is following the rule of thirds, and has blurred the background to make sure she stands out more. The lamp in the background helps to create a backdrop and, even though most things of focus are directly in the light, she is not here.
3. The camera has a shallow depth of field and a smaller aperture to let less light in since the scene is fairly dim.
4. The costume is bright colored and matches the other various bright objects in the room, like the lamp and paint on the walls.

1. Medium shot, low angle, dirty single
2. This shot has a very interesting placement with the object blurring out a large part of what we can see. Almost like we are peeping through and trying not to be seen. The low angle puts us more at the kids level because we are looking up at the woman, as if we are in the child's perspective.
3. The camera has a wide aperture because the scene is very bright.
4. There are many spotted and striped patterns scattered all over the room. It makes it feel very welcoming and friendly.

[Sebastian Jurado]

Sebastian Jurado

---

#1:
This frame has a medium shot size with a single shot framing and low shot angle. The director made these specific types of cinematic choices in order to focus in on this character, particularly on the conversation he is having as well as his body language and facial expressions. The director most likely intended for the audience to feel almost as if they are listeing in on the conversation as the camera is positioned in a way that is slightly hidden from the character. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a low f-number which creates a shallow focus. These camera setting choices were made in order to prioritize the character and what he is interacting with, specifically showing him casually over the counter. Regarding the character’s costume, you can see that he is wearing a business-type suit which contributes to the portrayal of his character, particularly as a professional business man. The director most likely made these choices in order further emphasize the type of character Mr. Chow is and show how he is a well established man.

---

#2:
This frame has a medium shot size with a two shot framing and high shot angle. The director made these specific types of cinematic choices in order to show both characters, specfically Ms. Chan and her boss in the office. The director most likely intended to create a sense of juxtaposition between the characters, with the boss being clearly visible through the open door and Ms. Chan being hidden behing the curtains. This is likely symbolism for the secrets that Ms. Chan is hiding in relation to the boss who has no secrets. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a high f-number which creates a sharp, deep focus on the boss. These camera setting choices were made in order to focus on the characters of this scene as well as to blur out the character’s surroundings. Regarding the set, it is prepared in a way that includes various office-type items, such as a desk, lamp, indoor plant, transparent door, ect. As for the lighting, it is dim with tones of yellowish-green. The director most likely made these choices in order to portray the location of the scene as the office or more specifically Ms. Chan’s workplace as well as in order to create and emphasize a more gloomy mood.

---

#3:
This frame has a medium shot size with a two shot framing and low shot angle. The director made these specific types of cinematic choices in order to show these character as they have dinner with each other as well as to focus on the food and utensils they are using. The director most likely intended for the audience to see the way that these two characters interact as well as to concentrate on their conversation. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a lower f-number which creates a soft focus. These camera setting choices were made in order to create a soft and intimate ambience and mood for this scene, particularly since this is suppposed to be a romantic scene between lovers. Regarding the costumes of both characters, you can see that Ms. Chan is wearing a sophisticated and pretty dress with nice earrings and well-done hair and Mr. Chow wearing a proper suit with his hair slicked back with gel. The director most likely made these choices in order contribute to the portrayal of these two characters as sophisticated and established people of society which serves as an interesting dynamic considering as how they are having an affair which is typically not seen as something sophisticated or something a well established person would do.

---

#4:
This frame has a medium full shot size with a two shot framing and low shot angle. The director made these specific types of cinematic choices in order to show these two characters as they are talking to each other and specifically show their body language. The director most likely intended for the audience to see the connection between the two and how physically close they are to one another. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a low f-number which creates a soft focus. These camera setting choices were made in order to further add to the romance and intimacy of the scene. Regarding the set, there is an interesting use of shape within frame. More specifically, the cage-like bars that are visible in between the characters and the camera. This is most likely symbolism for their relationship and possibly for their emotions and mental state. The director most likely made these choices in order to symbolize how their relationship is a wrong or bad thing as well as how they may both feel trapped in this risky situation.

---

#5:
This frame has a medium close-up shot size with an over the shoulder shot framing and high shot angle. The director made these specific types of cinematic choices in order to show Ms. Chan’s facial expressions as she talks to Mr. Chow. The director most likely intended for the audience to feel as if they were overhearing the conversation especially since the camera is positioned behind and over the shoulder of Mr. Chow. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a low f-number which creates a shallow rack focus. These camera setting choices were made in order to simultaneously show Mr. Chow but emphasize the focus on Ms. Chan. Regarding the costumes, you can see that Mr. Chow is wearing his typical business suit where as Ms. Chan is wearing a flashy flower dress. The director most likely made these choices in order contribute to the portrayal of these two characters being on a romantic and intimate date/outing.

---

#6:
This frame has a medium shot size with a single shot framing and low shot angle. The director made these specific types of cinematic choices in order to show Mr. Chow as he is opening the door of his old house. The director most likely intended for the audience to see from the perspective of someone in neighboring house, particularily as if they were Ms. Chan. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a high f-number which creates a sharp focus on Mr. Chow’s facial expressions. These camera setting choices were made in order to highlight how Mr. Chow is feeling as he looks for Ms. Chan. Regarding the set, you can see cage-like frame and flowers growing alongside and in between the houses. The director most likely made these choices in order symbolize Ms. Chan and reference Ms. Chan’s clothing, specifically her flowery dresses and the previous use of the cage-like shapes within frame seen earlier in the film.

---

#7:
This frame has a wide/close up shot size with a dirty single shot framing and high shot angle. The director made these specific types of cinematic choices in order to show Mr. Chow as he is whispering his secrets while also simultaneously showing the back of the head of the mysterious person watching him from afar. The director most likely intended for the audience to speculate who this person could be or who this person could symbolize, as well as wonder why this person is watching Mr. Chow and what they think/feel about him as well. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide angle lens and a low f-number which creates a shallow rack focus. These camera setting choices were made in order to focus on Mr. Chow and where he is in this scene while also shwoing the audience this ominous figure overlooking him. Regarding the costumes, Mr. Chow is shown wearing his typical business suit attire and the ominous figure is bald and wearing a seemingly orange robe. As for the set, this scene is shown to take place at seemingly old and sacred place. The director most likely made these choices in order to portray these two characters and there roles, with Mr. Chow being someone who is visiting a certain religious sacred ground and the ominous figure being a judgemental monk of some kind.

[SamseraiLopez]

Samserai Lopez

1.

This shot is a hip level cowboy shot from a slightly high angle. We’re meant to see her sitting there from the hallway in order to create a small tight space on the screen where she fits. This is making a frame within a frame- she’s only taking up half of the furthest left third, she’s overcrowded and trapped in the shape within the frame and everything behind her is following the same straight lines and squares. We’re meant to see how rigid and minimal space or even movement this character is allowed despite all the people in the space she’s alone. The yellows and greens give us an uneasy feeling about her space. She almost blends into the background. The camera itself slightly has a boom lift. The focal length is on the longer side probably around 135 or 200mm to flatten the background and the fstop is fairly high so that the background is clearer. There's plenty of diegetic sound that’s happening so that we- as viewers know despite the loneliness we feel with this frame we still know she’s surrounded by plenty of people.


2.

This is an establishing shot shot from shoulder level at a higher angle looking down- almost to start to give the viewer a forced sense of remorse and pity for what they’re about to see. The colors in the scene here are what are making the most impact- the reds and greens are much more striking so that we feel the senses of anger and unease. They’re such contrasting colors we know what something is at odds with itself and now we’re able to start to put it together. The focal length is likely on the 135mm side to flatten that foreground and background and the fstop is on the lover side as well so that the shapes aren’t entirely clear to see with spots of fog that further push that feeling of confusion that our character is feeling in this moment while she cries in the shower. The diegetic sounds give us the sense that’s probably what is happening only to confirm in the next frame.


3.

This is a clean single close up shot from eye level. The movement leading up to this is an abrupt pan from the right side onto the subject. This abrupt movement is to disorient the audience and give a sense of not knowing where this may lead to go straight into a closeup shot to see experience the realization with the character here of what is likely going on with their respective spouses now that they’ve put it together. The colors in the scene here are following what seems to be matched to their sense of unease and mistrust in their own relationships that have gotten brighter and brighter- now that is clearly only red and green, as viewers we are being forced to feel that confirmed mistrust with them in this intimate moment. The camera here is using a longer focal length like around 100m or so to flatten that background without distorting his face and the fstop is extremely low, around f/1.4 so that the background just becomes those colors that are helping us distinguish the emotion here.


4.

This is a dirty single close up over the shoulder shot from a high angle. They want the audience to feel as in on the secret as much as the characters are- we’re experiencing this with them, along-side them in a hush hush demeanor rather than them boasting it all out loud. We\re meant to see this is still a quiet movement. The most important shift that’s happening this sequence is that now instead of blending into the background she’s contrasting that background so she doesn’t blend and rather stands out clear as day. We’ve still color coded these interactions so they’re following the green and reds pattern but her green is now brighter than that of the environment around her. She’s not going to sit and take it- we’re watching the shift gradually to feel that build up. The camera is still higher in focal length to flatten that background while the fstop is on the lower side so only she is in focus. The music is building the anticipation for what's starting.


5.

This shot is a dirty single medium close up from a high angle over the shoulder. We’re meant to see how inferior and small she is when she’s around him. The camera is a higher fstop so that her and the background are clear somewhere midrange like an f/5 with a focal length that’s much lower closer to 55mm to make him look massive and put space between them but not so much space they seem vastly different. As viewers are meant to feel how small she is in frame- she’s on the line of 3rds but is back that’s not even in focus is towering over her taking up the other two thirds. She’s small and she’s trapped. The environment itself is showing a clear divide- the line behind her separating the red that we’ve attached to her while he’s in a neutral space- he’s unbothered. She fades into his background of neutrals but even in her red background she no longer fits in with the red and greens we’ve associated to her and the other man even though this is just a trial she's letting her self fall into the pretend so she can really practice this she's almost lost herself into this rehearsal she's seeing her husband rather than the other man- this is showing what a big separation between these two there is. Even the music has slowed and isn't as audible compared to other scenes.


6.

This is an insert shot of the package he’s carrying, the shot movement is tracking as he walks. The green and red aren’t as visible as it was before- now that time is passing those colors are fading back into the background but this shit is meant to bring those back to the forefront- or attempt to at least. The coolest part of this shot is the non diegetic sound- the music is used to convey a passage of time. They’ve coded it to be associated with time moving forward- it’s almost at a faster pace to show how fast it’s moving. We feel the time running out. Despite the song being in a different language just the tone and speed gives us that sense. For those of us that do speak that language however- quizas literally means perhaps. Cute little easter eggs and certainly intentional. The camera is a long focal length to flatten the foreground and background with a low fstop so the background is just a blur.


7.

This is an extreme closeup from shoulder level at a lower angle so we look up at him. This shot has an interesting composition because two thirds of it is out of focus. The director wants us to see him clear as day as he speaks so we know he has plenty to say. We’ll never be privy to those words and no one will- this is his confession of love that he simply couldn’t bear to carry any longer. The two thirds out of focus are meant to signify the weight of the unrequited feelings he’s whispering into the hole. They take up so much space and he’s trying to release that. The red and greens are gone- now we have warm lighting to signify clarity and reminisce on a past time that’s no longer within reach.

[ChayaNF]

Chaya Fuller




This is a shot size a wide shot, it's a clean single placed at eye level, the lighting is dark going along with his costume, which is also in dark tones. They use this to show the loneliness this character is feeling during this moment, the camera is far from the character so that puts it at 15mm lenes.


This shot is a wide shot, Clean Single, Eyelevel, with the camera setting be around 15mm, with it having a split diopter, with only the foreground being in clear enough focus. The lighting is dark, only with small amount of lights in the scene. The character and his costume are both placed in the dark, causing this moment to feel more emotional.


A medium full shot, dirty single, eye level, probably around 150mm, with shallow focus since both characters are on focus, this scene is a frame within a frame, showing how both characters are feeling trapped, also like they're behind bars.



medium shot, clean single, low angle, camera 150mm, shallow focus,

Dark lighting with a lot of yellowish green shade could me a lot of things, but with the custom of being white, it causes it to stand out. This shot is almost framed inside another frame. The shadow round him makes it feel like he is dealing with something that makes him shallow if he doesn't do anything about it.



Full body shot, Dirty Single, Low angle, camera 150mm, the lighting in this room is bright, compared to the other scenes when alone, they are a lot darker. Their costumes almost match in a scent. The pattern on her dress is almost like the pattern on his tie. This shows how similar they are to each other, or how close these two characters are getting.


A medium close up shot, a dirty single, Eye Level, the camera 150mm, the lighting is dimed, how the shadowed show as bars, this cause it to to be a frame within a frame, having them close meaning they are closer with each other but still feeling trapped behind bars.


A close up shot, Clean Single, Eye level
The camera must be 15mm, since we are able to see more details on the character. The lighting in this scene has a yellowish-green tint, causes her costume stay out more do it it being a blue. This shot is also framing her at an angle, showing the closed in emotion she having in this scene.

[Adham Aatiq]

->
It’s a medium shot, clean single, focusing on Ms. Chan in a confined space, allowing us to see her upper body and facial expression. The shot is eye level. The framing is tight which is deliberate as the use of confined spaces is a recurring theme. It reflects the emotional constraints of the two main characters. Her outfit’s color also shares the same color palette as the background and surroundings, perhaps to saw she feels melded to her way of life. Being against the wall, touching it with her hand creates a sense of being trapped, both physically and emotionally. Along with the low lighting and confined corridor it conveys a sense of loneliness.

->
This is a Wide shot, two shot and a low angle. It’s showing the two characters Ms. Chan and Mr. Chow walking away from the camera on a deserted street at night. This choice of shot emphasizes distance, both physical and emotional, as we view them from behind, unable to see their faces. The distance hints at the emotional barriers between the characters and their suppressed desires. They are framed centrally, walking in sync with each other. They are boxed in by the vertical lines of the street and the car on the left, creating a kind of corridor effect. The couple IS walking together but they are not physically touching. Their proximity suggests intimacy, but their lack of connection mirrors the emotional restraint that defines their relationship throughout the film.
->
A full body, medium wide shot with an eye level angle. I strongly believe the emphasis placed on the red in this movie is meant to be associated with passion. The dim, warm lighting contrasts with Ms. Chan’s solitude, as the deep reds of the walls on the right bring out a sense of passion and repressed emotions. This happens after she tells Chow “We’re not like them.” As she leaves but her steps come to a crawl realizing there wouldn’t be much for them to do for them to also be having an affair. She did have passion for him and if it wasn’t a physical affair it was an emotional one.


->
This is a medium close-up shot that focuses on Ms. Chan’s face and shoulders, allowing an intimate connection with her as she rehearses her confrontation with her husband. This is a dirty single, over the shoulders shot. This allows her face and reactions to be center focus while Chow’s face is obscured, and since he isn acting as someone else it’s a way to visually have him be almost like a stand in.

-
->
This is a close up shot, also a Clean shot at eye level. The use of the rule of thirds places Ms. Chan slightly off center, leaving the left side of the frame empty and creating negative space that conveys isolation and longing. This is paralleled with the fact Mr. Chow is on the other end if that phone line and is on the left side of the frame while the right is empty. She calls him to just hear his voice, but doesn’t say anything, not that she doesn’t want to but she shouldn’t. The faded red slightly present in the cooler colors is reflective of that.

->
This scene uses a medium-full, low-angled shot to depict Mr. Chow’s emotional resolution as he metaphorically buries his secret and moves on. The framing, with Mr. Chow positioned against the background of the ancient temple, it symbolizes his transition from missing the past and the love that was never meant to be. The use of shadows, dim lighting, and his silhouetted figure that hide his expression, creates a bit of ambiguity about his emotions. The framing within the temple doorway further reinforces the theme of leaving the past behind, while his movement toward the camera signifies a deliberate step forward.

[bmlugo]

Bianca Lugo:

In The Mood For Love Film Analysis.pdf

[Leopoldo]

Leopoldo Esquivel

Shot1


Mechanics of the Shot:

• Shot Size & Angle: This appears to be a medium-long shot taken through glass or a doorway, positioning the audience as an observer outside the character's personal space.
  The angle is stationary and slightly elevated, suggesting detachment.
• Framing: The frame captures the subject (an older man working at a desk) within a window or a doorframe, creating a frame-within-a-frame effect in the clean single.
• Composition: The subject is centralized, but the surrounding elements (lamp, framed paintings, blinds) balance the visual weight, emphasizing isolation.
• Camera Lens & Settings: Likely a standard lens with shallow depth of field to isolate the character. Estimated focal length: 50mm to 70mm.
• Mise en Scène: The lighting is warm but dim, conveying an intimate, reflective mood. The set includes office details like a lamp, desk, and framed artwork, suggesting professionalism or routine.

Semiotic Analysis:

The frame-within-a-frame emphasizes confinement and the character's isolation in a structured, formal setting.
The subdued warm lighting contrasts with the rigid geometry of the doorframe and blinds, evoking a sense of emotional restraint or monotony.
This shot establishes themes of separation, routine, and unspoken emotional undercurrents that permeate the film.

Shot2


Mechanics of the Shot:

• Shot Size & Angle: This is a medium shot, focusing on a man seated in a restaurant booth. The angle is high, with the viewer looking down on the character from the perspective of the other character.
• Framing: The man is framed within the dark booth, creating a natural vignette. The background includes blurred lighting, drawing attention to his contemplative expression in the single dirty shot.
• Composition: The framing directs attention to the character's face, with the horizontal line of the booth dividing the shot and reinforcing symmetry.
• Camera Lens & Settings: Likely a medium telephoto lens (85mm–100mm), emphasizing intimacy while blurring the background.
• Mise en Scène: The subdued lighting and muted tones evoke a somber, reflective mood. The formal suit suggests professionalism or control, while the setting indicates social formality or a transitional moment.

Semiotic Analysis:

The composition isolates the character, drawing the viewer into his introspection.
The lighting accentuates the contrast between his composed exterior and the implied emotional turmoil.
Wong Kar-Wai's use of symmetrical framing conveys order, but the blurred background suggests disconnection from his surroundings.
This shot reflects the character’s inner conflict and foreshadows relational tensions.


Shot3


Mechanics of the Shot:

• Shot Size & Angle: This is a medium-long shot, taken through a grid-like barrier, with a woman seated and lit by warm, dim lighting.
• Framing: The frame-within-a-frame effect dominates, with the barrier adding layers of separation in the clean single.
• Composition: The character is placed slightly off-center, balanced by the warm lamp glow, which adds softness to the otherwise rigid framing.
• Camera Lens & Settings: Likely a standard or slightly wide lens (~35mm), maintaining focus on both the character and the set's details.
• Mise en Scène: The warm tones, traditional long gown, and minimal set pieces evoke nostalgia and cultural identity, while the patterned background implies entrapment.

Semiotic Analysis:

The grid creates a sense of physical and emotional entrapment, reflecting the character's internal struggle and societal constraints.
The warm lighting softens the mood but cannot entirely counter the sense of alienation.
The composition and mise en scène communicate themes of unfulfilled desires and constrained individuality.

Shot4


Mechanics of the Shot:

• Shot Size & Angle: A medium two-shot, with both characters positioned in profile.
• Framing: The frame divides the characters with vertical lines (gates or bars), emphasizing their separation despite physical proximity.
• Composition: The man occupies more visual weight, suggesting dominance or agency in the interaction. The colorful cheongsam contrasts against the muted background.
• Camera Lens & Settings: Likely a medium telephoto lens (~85mm) to compress the space and focus on their interaction.
• Mise en Scène: The dim lighting and rich colors evoke a mood of secrecy and restrained intimacy. The dialogue reinforces the themes of social expectations and repression.

Semiotic Analysis:

The framing positions the characters as divided by societal norms, with the bars reinforcing the visual metaphor of constraint.
The characters’ body language suggests vulnerability, but the rigid composition and lighting convey restraint.
This shot explores the tension between personal desires and public appearances.


Shot5


Mechanics of the Shot:

• Shot Size & Angle: A medium-long shot showing the woman seated in a doorway, silhouetted against a minimalist set. The angle is a slightly low angle to show the vunerabilty in the moment.
• Framing: The doorway serves as a natural frame-within-a-frame, drawing the viewer's eye to the subject's solitude in the clean single shot.
• Composition: The character is placed slightly off-center, with the stark geometry of the doorway emphasizing isolation.
• Camera Lens & Settings: Likely a standard lens (~50mm), with a narrow depth of field to keep the focus on the character.
• Mise en Scène: The dim, cool lighting and muted color palette enhance the somber tone. The simple set reflects the character’s isolation and emotional vacancy.

Semiotic Analysis:

The doorway symbolizes a transitional space, reflecting the character’s emotional liminality.
The off-center composition suggests imbalance, while the muted lighting and bare setting emphasize her solitude and introspection.
This shot conveys a sense of emotional resignation and entrapment.



Shot6


Mechanics of the Shot:

• Shot Size & Angle: A medium shot showing a man leaning forward, engaged in intimate dialogue with the other man infront of him. The warm, dim lighting creates a nostalgic atmosphere from the high angle.
• Framing: The man’s posture and the table create diagonal lines, contrasting the static background. The dirty single framing draws attention to his intense expression.
• Composition: The warm tones balance the somber composition, with the bottle and table adding depth.
• Camera Lens & Settings: Likely a medium telephoto lens (~85mm), with shallow depth of field to isolate the subject from the background.
• Mise en Scène: The setting, including muted tones and sparse decoration, enhances the scene’s intimacy and melancholy. The dialogue reinforces the themes of memory and regret.

Semiotic Analysis:

The shot conveys a sense of yearning and vulnerability through the intimate framing and subdued lighting.
The contrast between the character’s expression and the warm tones highlights unresolved emotional conflicts.
Wong Kar-Wai’s abandonment of the 180-degree rule adds to the disorientation, reflecting the character’s emotional turmoil.


Shot7


Mechanics of the Shot:

• Shot Size & Angle: A close-up focusing on the man’s expression, with warm lighting and a shallow depth of field.
• Framing: The frame isolates the subject, creating an intimate yet constrained visual effect.
• Composition: The vertical lines of the curtain add texture and suggest confinement, while the warm palette evokes nostalgia.
• Camera Lens & Settings: Likely a medium telephoto lens (~85mm), with a wide aperture for a shallow depth of field.
• Mise en Scène: The red and gold tones suggest passion and longing, while the stillness of the character reflects internalized conflict.

Semiotic Analysis:

The close-up intensifies the emotional weight of the scene, drawing the viewer into the character’s introspection.
The interplay of warm tones and rigid framing mirrors the character’s struggle between desire and duty.
This final shot encapsulates the film’s themes of love, loss, and the passage of time.

[CKing]

Cara King
________

[allyomelet]

Allison Maldonado

[MonsterMegalodon]

Cassandra Rebolloso Hanson

ACT1

This is a clean single is to show that she tries to stay away from others and stays in her own box. Since it is a Full shot, it shows that she blocks the views of others with the newspaper along with having her legs crossed. Again, this allows the audience to know that she tries to stay to herself. The low angle gives us a sense that she is at a low point in her life.
The way the environment is set up confirms the sense that she is at a low point in her life because of all the lines in the frame that makes it seem like she is trapped. The lighting behind the lady's head puts importance on her but the color that she is wearing blends her into the background. The color pallet within this is in the analogous color range which helps blend her with the background. Again, this shows that she just wants to keep out of the eyes of other people.


ACT2


This is a two-person shot that shows how they are testing out the waters of what is happening. The reason that this is a cowboy shot is to show that the guy is the one trying to get the girl to stay with him. Along with the hip angle showing how they are getting closer in relationship to each other.
The mix of the lighting along with the clothing makes the characters blend into the background. But that also emphasizes the hand placement and the ring that the lady is wearing. The lines on the lady’s dress also leads your eyes to the hands holding and her other hand with the bracelet and ring on it.



This is a dirty single is to make the audience understand that there is a conversation happening. Along with being able to show the bars which makes it seem like they are trapped in the situation they are in. In the medium, low angle shot it shows that the lady is in a higher power in the moment since we are shown under each character.
The clothing and lighting within the show makes it feel like the characters are blending in with their surroundings. The green and red of the lady’s dress makes her blend in with the background while the color of the suit the guy is wearing makes him blend in with the foreground bars. The way the people standing shows that they are having a close relationship but not familiar enough since there is a bar between them.


This is a clean single shot to show that he is the only one in the office, which adds on to the sense of loneliness. While the wide shot is establishing where the character is. It does not just show where he is at but, the composition of the shot makes everything feel like it is cluttered but also lonely. The eye level angle of the camera makes it seem like we are a person in the room with him looking at him from a different desk. But we are just barely looking down at him, so it feels like he is upset and lonely.
The light in the scene is on his to make your eye focus more on him and not the surroundings. The coloring is all Analogous except for him since he is standing out in white. While everywhere else is all dark in the green, brown, and yellow color scheme that brings in the sense of being trapped and having continuous repetition.



The two-person shot here makes the audience seem like the characters are closer to each other now than they were before. The lady is not leaning away from the guy anymore. And comparing the scene to before when she was in the same shot alone, in this one she is more inviting and not trying to block herself from others. The full shot displays both their body language which again shows that they now lean into each other compared to trying to distance themselves from the other.
The light is between them to draw our eyes to how they have grown fawn to each other along with making everything in the scene brighter compared to other scenes before. Along with the color in the scene they now stand out a bit more to the point where they are not blending in with the background. The now red coloring in the walls is showing that they are growing fond of each other compared to distancing themselves from one another.

ACT3


The two-person show here shows that they are starting to distance themselves from each other since they are not as close as before in other scenes. But they are still close enough to not be complete strangers like they were at the beginning of the movie. The wide shot is blocked from how the composition of the scene is. Since there is a wall taking up most of the shot, it emphasizes that they are not supposed to be hanging out with each other. This also shows that they are not supposed to be with each other because the scene is being shown as if someone is peaking around the corner where it is supposed to be secret. The low angle makes this shot show that they are both in a vulnerable position. The thing that helps sell the vulnerable mood is the tones of brown within the whole scene.
The lighting is a type of light dull lighting which does not highlight much but is enough to be able to tell its nighttime in the shot.


The dirty single shows that even though the main character is trying to express a secret, there is always someone watching. This is a wide shot insert that displays where the character is at but also there are other people at the place as well. The overhead shot displays how small the main character looks compared to the building and the monk's head. This makes it seem like man's problems are not as big as it seems on the outside.
The color of the place is a lot of grays with some hints of brown that is supposed to emphasis on how desolate the place is supposed to be with few people visiting it. But with the head of the monk in the scene shows that there is someone always there no matter how much you want to hide something. But the monk is not clear but blurry because he is not as significant in the scene other than showing that there will always be someone there that when you try keeping a secret.

[BSmith01]

Act I

Shot 1:

The medium closeup shot in this frame is used to place emphasis on the facial expressions of Mrs.Chan as she decides whether or not to go into the apartment. It is a clean single as we are meant to focus on her, but also to create a feeling of aloneness before Mr.Chow is revealed in the next shot. The angle is slightly low indicating that she is here willfully, and that there might be some deeper intention in speaking to Mr.Chow. The focal length is on the longer side of average, causing the background to be slightly condensed. The f-number is likely a bit low which creates a shallower depth of field. Exposure is somewhat low. These camera choices cause the hallway to almost squeeze in on Mrs.Chan. All pathways are blocked off aside from the apartment door. As the door opens, the dark hallway is illuminated by light from inside. Together, these create the effect of Mrs.Chan being drawn inside the apartment and towards Mr.Chow.




Act II

Shot 2

The medium closeup shot in this frame is used once again to emphasize Mr.Chow’s facial expressions during an understandably tense conversation with Mrs.Chan. It is a clean single as we are meant to read Chow’s emotions as he reacts to what is being said to him. The angle is slightly low, showing emotional vulnerability. The focal length is a bit long, compressing the shot, as well as exaggerating Chow’s head and face. The camera trucks from right to left, centering on Chow, presumably as Chan’s response confirms his suspicions. The speed of the camera shows how jolting this is to him.




Shot 3

The medium shot of this frame allows us to see both physical and facial interactions of the two characters. It is a dirty single because it is a conversation between the two characters. We are focused on Chow in this moment. The angle is low, as both characters are begging to let their guard down and are happy to be in each other’s company. The focal length is long, compressing the shot, bringing our characters closer together, and making their sizes more consistent. It also makes the bars appear larger. The bars show that our characters are trapped in marriages where they are not appropriated and are being cheated on, but they are trapped together. At the same time, a line is drawn between them. They cannot fully embrace one another.




Shot 4

The wide shot of this frame emphasizes our characters’ place in the scene. It is a double, particularly because this shot revolves around the relationship between Chow and Chan. The angle is low here, showing emotional vulnerability but also contentment. Despite their situation, they are dealing with it together. The focal length is average to short, lengthening the shot, making it appear more narrow and placing the characters farther from the camera. Up to this point, multiple times, the director uses frame within frame to isolate our characters, but for the first time we see the two main characters in a shot like this together. Chow begins out of frame and then moves into it. Through breaking of this convention that has been established, we show that these two characters are no longer so alone.




Shot 5

The closeup shot pf this frame tells us that our focus is on the emotional state of Chan. It is a dirty single, though interestingly, the character’s face we see is not the character we are focused on. It’s almost like the shot wants to be a POV from the perspective of Mrs.Chan. The angle is slightly low here, but it is used to create some emotional dissonance and tension. Mrs.Chan is being questioned and worries that she has not been discrete enough. The focal length is on the long end of average, causing some distortion. Mrs.Suen appears slightly smaller because of this, placing our attention on Chan. The fact that Chan is much more central in the frame also adds to this. The f-number is quite low creating a very shallow DOF. Because of this, it is indicated that, while Mrs.Chan hears what Mrs.Suen is saying, her focus is elsewhere. She is likely wondering if she has not been careful enough, and is considering what she and Mr.Chow will have to do to ensure their safety from being discovered.